SES —— (Cerf)
Characters
PRU Stasis
INTRODUCTION BY CHARLES SCHULZ
Creating
Unique Faces
Studying
Expressions
Conveying
‘ActionMore than 80 years ago, Walter Foster—a well-known artist,
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Walter Foster Publishing now provides how-to
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the rewards of learning to draw and paint. People who have never
before picked up a paintbrush or drawing pencil have discovered their
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We are dedicated to preserving the high stan-
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our products, We believe artists are eager to
learn, sharpen their skills, and experience
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provide the tools to accomplish those goals—
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are accessible, entertaining, affordable, and
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experience with us oF the continuation of a
long-term relationship with our products, we
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good luck and success and we hope that you
Se sonearacters
with Don Jardine
How do I begin? tthisis an obvious question for everything that we do. Well, Don
Jardine can help all of us who have tried, without success, to create cartoon characters that “come
to life” for the reader. All too often, beginners will go to one of two extremes; either by drawing,
characters that have no personality whatsoever or by drawing characters that are so cartooned
that they almost repulse the reader. And although we are surrounded by hundreds of faces every
day, it is amazing how difficult it is to put all of the strange eyes, noses, mouths, and head shapes
that we see together. And even as we progeess, it becomes still more difficult to create characters
who can express a variety of emotions. Don Jardine can help you over these initial, difficult
obstacles. He has the answer to the question, “How do I begin?”
harks ft dhol,
Charles M. Schulz (1922-2000)
(Creator of *Peanuts”: Charlie Brown, Linus, Lucy, Sally, Peppermint Patty, Woodstack, and Snoopy!)INTRODUCTION
“How Do | Begin?”
This is an obvious question for everything that we do,
Well, Don Jardine can help all of us who have tried,
without success, 10 create bartoon characters that
“come to life” for the reader. All 109 offen, beginners will
goto one of two extremes; elther by drawing characters
that have no personality whatsoever, or by drawing
characters that ate so cartooned that they almost
repulse the reader. And although we are surrounded by
hundred of faces every day, itis amazing how alficutt
itis to put all of the strange eyes, noses, mouths, and
head shapes that we see together. And even as we
progress, it becomes still more difficult to create
‘characters who can express variety of emotions, Don
Jaraine can help you over these initial, cificuit obstacles,
He has the answer to the question, “How Do | Begin?”
Aorta th, debuts,
Charles M. Schulz
(Creator of "Peanuts": Chattie Brown, Linus, Lucy, Sally,
Frieda, Peppermint Patty, Woodstock and SNOOPY!)
OBJECTIVE
The objective of this book is to help you have FUN
creating CARTOON CHARACTERS. If you enjoy this
‘material, you will want fo spend alot of time developing
your own cartoons. That's GREAT There is NO SUBSTITUTE
for PRACTICE,
‘The more cartoons you daw, the better they will
become. And the better they become, the more you
will enjoy cartooning. And the more you enjoy I, the
Tore you will want to craw! It becomes @ HAPPY MERRY
GO "ROUND!
If you ae interested in cartooning as a career, you will
‘be pleased fo learn that a GOOD cartoonist hos many
options: ftee lance, advertising, television, marketing,
Indust. education, entertainment, and publishing —
to name a few. And if you can eam a living doing
something you would nomally do for fun, you will have
much happier lite!
Just think about it; When you turn on the TV you see
familiar cartoon characters cavorting across the
screen... commercial comes on and there are more
cartoon charocters..you pick up @ box of cereal andiits
decorated with cartoon charactess.you want a new
‘shirt, but find it difficult to decide among the many
which feature cartoon characters..you go to the store
to buy a greeting card for a special occasion and it's
decorated with cartoon charactes..then you pick up
magazine or a newspaper and what catches your eye?
MORE CARTOON CHARACTERS!
We are @ cartoon-conscious people. We grew up with
Chartie Brown and Snoopy. Blondie and Dagwood,
Mickey Mouse and Donald Duck, Bugs Bunny, Beetle
Balley and the Fintstone's. They, and other popular
cartoons were “fiends” of ours — and stil re!
ft you want to be a participant in the WORLD of
CARTOONING, you will heed this advice: Study ar lean
to draw well, research cartooning, practice, and, most
importantly, PERSEVERE! You will never make it without
‘determination, so keep trying!
Never be satisied with the fist effort, Most cartoons can
bbe Improved upon. But don't become discouraged!
Cartooning is similar to penmanship — no two people
write alike and no two people DRAW alike. And every
‘cartoon you craw is another step in the development of
Your own unique style,
Finally, REMEMBER what you leam and USE IT — always!
Good Luck!
Don Jardine, PhO.TOOLS AND MATERIALS
Allyouteally need to begin drawing cartoon characters
is c pencil and some paper. Almost any pencil will do,
‘and inexpensive paper such as newsprint, bond or
typing paper is fine. As you progress there are many
tools which make cartooning easier, more fun. and
more professional looking. Buy them as you need them,
PENCILS — Graphite pencils are the most popular and
have the widest range of application, but there are
several other types of pencils you might also want fo iy
These include carbon and charcoal pencils which
blend well and give a wide ronge of values, conte
‘pencils, and wax pencils (most colored pencils are of
the wax variety),
You should try an assortment of pencils to determine
your preference, but here are a few things to consider
Harc-leaded pencils (the H Series) hold their point
better than soft-leaded pencils (the B Series), The harder
leads don't break as easily and the pencil work doesn't
smear as readily, The disadvantages fo the harder leads
‘are that they moke lighter lines. they are often dificult
to erase, and they sometimes “gouge” the drawing
surface. Softeaded pencils make darker lines, are easy
to erase when applied with light pressure, and are less
‘apt to damage the work surface, but they must be
sharpened frequently, the leads are more likely to
break. and the pencil work smears quite easily
many sizes. There are also alphabet templates to help
you with your lettering.) For making curved lines there
{re french curves and flexicurves (spines that can be
shaped fo most contours)
PENS — Drawing pens range from firm to extremely
flexible, Technical pens are very popular (use the fiber
nib, NOT the felt nib). Most of the cartoons in this book
were done with a technical pen, Experiment and
‘choose the kind that works best for you.
BRUSHES — Miony cartoonists prefer brushes over pens.
They are difficult to master, but they make beautiful,
‘expressive lines. If you decide to try brush and ink, buy
the BEST QUALITY brush you can afford. A red sable #3
watercolor brush Is favored by professionals.
DRAWING SURFACES — There is a wide vatiely of drawing
Papers and boards available. These include newsprint,
bond paper, tracing paper, bristol board, andiillustration
board, The latter come in hot press (a smooth surface,
best for detailed ink drawings), and cold press (a
regular surface, used for many media). There are a few
specialty surfaces available also; ask your art supply
dealer if he has any examples of artwork done on these
surfaces.
ERASERS — A kneaded rubber eraser is preferred. Unlike
the ort gum eraser, it leaves no “crumbs,” and it doesn't
stain or damage the work surface.
DRAWING GUIDES — Drawing guides enable you to
Grow straight lines, accurate cicles and ellipses, and
specific curved lines, For making straight lines there are
bevelled rulers, triangles and squares (the plastic, see-
thru type are prefered). To make circles and ellipses
you can purchase plastic templates which come in
SHADING SHEETS — Shading sheets are used to create
interest ana provide contrast in cartoons. They come in
many pattems and textures. To use, place one over the
desired area and lightly rub it down (the backs ore
covered with a light adhesive, or wax). Then, carefully
cut around the area with an exacto knife or a razor
blade, Peel away the areas vou don't want covered
‘and it's complete! This takes a it of practice to perfect,
bbut the pattems and textures con really add to your
cartoons.DRAWING CARTOON FACES
Hete are four basic oval cartoon faces with assorted
types of eyebrows, eyes, noses and mouths in various
locations. Below each basic face is a male and a
female cartoon face, each with features related to the
basic cartoon face above.
Examine the cartoons which resulted from each of the
basic faces. Notice the addition and varieties of hair
styles, ears, moustaches, freckles, earrings, the necklace,
the bow tle, et cetera,
aan
8AN EASY METHOD...
For Drawing Cartoon Faces
Begin by drawing a variety ofhead shapes. Then create
some hair styles. Try drawing an assortment of eves,
‘ears, noses, mouths, and eyebrows. Then CHOOSE and
USE!
By drawing different head shapes with various features
you can create HUNDREDS of characters. I's fun! Try itEach of these female cartoon faces wos created by fst
drawing an oval, then drawing the features selected
from page 5. I'S FUN! Draw a few head shapes on
scratch paper, then drawn features of your choice. The
various combinations drawn in different sizes ond in
different locations enable you to create literally
THOUSANDS of faces, And, you can add more exagger-
‘ated eyes, noses, mouths. ond hairstyles for an INFINTE
number of cartoon faces TRY Ml
You may find it interesting, even fascinating, to dupii-
cate the faces above in different head shapes and with
different hair styles. Using tracing paper. trade features
and draw them In different sizes and in different
locations. ifs easy — and it works!These male cartoon faces were drawn using the same
method used for the female faces. It doesn? take a lot
of imagination to change the features in any head
shape. or to substitute a different hair style.
Use @ 38 graphite pencil on scratch paper o* tracing
Paper ond copy some of these heads. Then draw in
features from other cartoon faces, or from the features
‘on page 5. Draw the eyes larger or smaller, higher or
lower, closer together or farther apart. Add glasses,
freckles, a moustache, a beard, longer sidebums or a
bubble gum bubble. Experiment, EXAGGERATE!
Every NEW combination you use to produce a cartoon
face makes it YOUR cartoon. YOU can develop
THOUSANDS of mais and/or fernale cartoon faces —
young and old. The more faces you craw, the easier It
will become,PROFILES AND
THREE-QUARTER VIEWS
Develop the habit of REALLY LOOKING at the many —EXAGGERATE! That is the way to develop your own
people you see every day. Each, obviously, has two cartoons.
‘eyes, a nose and a mouth — but, except for their hair,
‘what makes them DIFFERENT? Their age? Size? Location _ Choose and use from the variety of head shapes. hair
of features? Slight variations in shape? Whatever it is styles and features on page 5. PRACTICE!SIXTEEN CARTOON FACES...
All With The Same Head Shape
Dod
THESE four have the SAME FEATURES but DIFFERENT HAIR STYLES.CARTOON FACIAL EXPRESSIONS
Laughing ‘Crying Angry Fightened Sleepy
These ore key features that lead to detalled faces, such as those below.
ANGRY FRIGHTENED
SLEEPY ‘STUDIOUS UNCONSCIOUS
Here Is a dozen cartoon faces, each with an interest
ing expression. Draw some circles and ovals andCARTOON FACIAL EXPRESSIONS
In Profile
Laughing, crying, onary, tightened, sleepy and stupid Disney animators do — make faces in a minor!
‘re basic cartoon facial expressions. Other expressions
‘re usually variations of these six You cant think of any other expressions? How about
surprised, sad, tired, smiling, mean, amazed. yelling, shy,
Make up @ Ist of expressions and fry tocreate acartoon contemptuous, diz, ashamed, bashful, suspicious ond
foce for each one. If you have problems. do as the puzzled?DRAWING AND DRESSING THE
COMPLETE CARTOON CHARACTER
To develop a cartoon, professionals usually beginwitha The average human adult male is behween 7 ond 7 ¥
stick figure, a skeletal figure, or @ basic shapes figure, |__ heads tall, Artists, for convenience as well as fo idealize
prefer and recommend the latter, but use whatever the figure, usually use 8 heads.
‘works best for you.
FULL FIGURE STICK FIGURE SKELETAL FIGURE BASIC SHAPES
The EXAGGERATED figure above was
created by changing the proportions
of the fulHigure. At the right you see
the same exaggerated figure with
clothes added. Shading sheets were
Used to create a finished cartoon
figure (see materials page). The ice
‘cream cone was added for interest.
Drawing BASIC SHAPE figures such as
those below can be o “ball.” This is
how major characters ate developed.
Ty a few — a few HUNDRED!Think of a character..a clown, a Pencil cartoons can be Inked
bum, or a “bag lady,” perhaps. quickly. Adding textures and/or
Put some basic shapes together pattems can e done with pen or
Gndadd the kind of clothing they brush. strokes..of. you can use
might be expected towear,Diaw commercial shading sheets.
some props; make them DO
something,FULL-FIGURE MALE CARTOONS
These cortoons were developed from airplane — youlllcreate more interest in
BASIC SHAPE FIGURES. your cartoon characters by having
them DO SOMETHING that attracts
A finger to the mouth, a hand ina Gttention
Pocket, a tapping foot, or holding an
This simple BASIC SHAPE FIGURE has been developed many ways: add glasses, c moustache or c beard, or
Into four male characters. HUNDREDS are possible. Try change the hai style, 0 ty different apparel, Use your
creating a few of your own..They can be changed in imagination. EXAGGERATE!
KSREER ESEFULL-FIGURE FEMALE CARTOONS
FIGURES can be developed into
finished cartoons of ail ages, wearing
your choice of clothing and DOING
Each of these small BASIC SHAPE
whatever you wish.
.
This is the same BASIC SHAPE FIGURE that wos used on the preceding page,
Look at the FEMALE CARTOONS that resulted from it!ACTION CARTOONS
‘A mannequin can help you solve
‘ACTION and FORESHORTENING prob-
lems, The two cartoon figures above
wore caw fom the same manne
guin pore, and eral hundteds
mote are EASILY possi
Most action figures are drawn on a ¢
diagonal line. If 0 LINE OF ACTION
‘of MOVEMENT.
Like ail other cartoons in this book.
these action figures were developed
from BASIC SHAPE FIGURES.
Km 7
aes BER CEAMovement lines help dramatize
ACTION in cartoons. The simple car-
toon figures cavorting across the
‘ bottom of these two pages may give
You some ideas for finished cartoons
‘ ‘of your own. Notice the vatiely of
figures and movernents. Dozens of
inleresting characters are possible
from EACH ONE, Just draw them (or
others like them) larger. then acd
interesting features, details and var-
lous costumes. I's FUN!CARTOON STEREOTYPES
House Wife
Old WomanTouristCheerleader
Movie StarGolfersKARTOON KIDS
Chon are popu catoon subject
| tay ah oomrio denon oe ake
coe Sahonvaraae ton Soar
SOMETHING you can Sem on eon
a
Notice that the children on this page
range from less than 3 heads fo only 4
heads high.
Study each basic shape figure and the
finished cartoon which was developed
‘rom it, then fry some of your own, This is
good practice!
Start your drawings by using a pencil to
create basic shape figures, then de-
velop the details to your satisfaction
before inking. Shacing sheets help by
Providing interesting patterns and effec-
tive contrastsPRETTY GIRLS
Study cartoons of pretty git's in comic
sitios, in advertising, and even on
television. Pay particular attention to
details such as facial features, hair
styles, hands and feet. Then PRACTICE!
The two fullfigured gitls below were
Grown In the same pose, but have
very different proportions.Pretty gils come In an assort-
ment of sizes and shapes.
Knowing basic cnatomy can
'be helpful even fo cartoonists
who exaggerate more than
most
After drawing @ basic shope
figure and developing It into
good cartoon, try adding a
vatiety of costumes. One or
‘two of them may be particu-
latly outstanding, making @
world of difference,
Draw the full basic figure even though
clothing will conceal most of it (see example
below).HOW TO MAKE YOUR CARTOONS
MORE PROFESSIONAL
The cartoon character right below is reproduced the
same size it was drawn. The other four are reproductions
‘of the SAME cartoon
Enlarging a cartoon offen creates some dramatic effects
{as evidenced by the bolder lines and pattems of the
lage cartoon at the left. The three smallest cartoons
demonstrate how lines and pattems close up (fil in). In
fact, the line pattem of the pants has closed up and
‘appears solid black on the smallest figure. Wnen great
recluction is anticipated, its safest to use open pattems
such as the dots on the crown of the hat and the widely
spaced stripes on the shit.
This litle character lacks VISUAL
26 STRENGTH. The lines te weak and
Here @ bolder line was added for Finally. shading sereen wos applied for
‘emphasis, and a rabbit wos added for further emphasis. The rabbit was pushed
Interest. A good Imexovernert back by the overlapping dot pattem.ale
PROFESSIONAL TIPS
1. The use of a vatiety of ink shading techniques
and/or shading screens makes your cartoons look
More professional because they provide an interest-
Ing variety of textures, pattems and values (lights
‘and darks).
2. Simplicity, strangely enough, is often the mark of o
true professional. Note the works of today’s TOP
Cartoonists. See how SIMPLE they recily are.
3 With experience and practice you will draw fester.
The resulting line. a confident line, will denote
Professionalism. Don't be concemed, at fist, about
technique, That will develop with time,
4, Remember, a unique idea is often more important
than a unique cartoon,
6. A professional cartoonist always has a number of
examples (a potttolio) to show prospective em-
ployers or customers. Published cartoons make the
best examples, but if your work has never been
Published, just use some of your best drawings.
PAIL AND JUAN
These two cartoons demonstrate the
Importance of the background in your
‘artwork. In the fist cartoon, a shading
screen was applied to the pail fo contrast
‘with Juan's white trousers, BUT, this makes
the pail almost “disappear” into the
background, In the second cartoon, you
can see how the plain background of
the pail is more effective and has better
Contrast. A graduated shading screen
was used for the second cartoon for
‘added interest
To make a good comparison, squint your
eyes and look at the two cartoons. This
helps to eliminate unnecessary detail so
you can identify the most important
‘elements of the cartoons. Notice how the
second "Pail and Juan’ is much better
than the frst
6 A second color adds A LOT to any cartoon,
Professional masking material such as rubylth or
‘amberith (the latter is easier to soe through) is BEST,
Just place a sheet of either one over your black and
white cartoon, then cut and peel away all areas
‘except where color is desired.
7. A citcle attracts attention more than any other
geometric shape. $0, to call attention to on
important cartoon, place tin a circle of add a
itcle of contrasting color or value (light or dork) in
‘he background,
8 Ty @ variety of drawing and lettering pens to find
the ones that work best for you. Ask your art supply
decler for recommendations and check lettering
‘and other cartooning books for examples of lines
Produced by various pens
9. The very BEST tools (pencils, pens, brushes...) are
worth the investment,
As stated eatller, every professional cartoonist
‘must keep a portfolio of his or her work. A good
Portfolio includes a variety of subjects, mediums
‘and techniques. Top quality LETTERING is also a
Gefinite asset and makes one’s presentation
more competitive,
Waiter Foster Publishing has several books on
lettering. Select and study one, then PRACTICE,
It fakes a lot of time, effort and determination
to develop the skills of a professional letterer,
but these skills convert info ADDED INCOME
‘and a great deal of SATISFACTION,
FE
=LETTERING
The fist LAW OF LETIERING Js legibility. To moke your
letters easier to read, you need fo STUDY and PRACTICE!
Uso guidelines like those in the balloons below. Don't try
to design your own letters. Select a complete, ppro-
fessionally designed alphabet like those shown here,
‘and don't deviate. Keep the letters OPEN and pay
careful atfention fo the space between letters,
GOTHIC
‘One of the most common lettering errors made by
beginners is mixing upper case (capital) letters with
lower case (small) letters.
ALSO, if you're not sure of the spelling of the word LOOK
ITUPin the dictionary. Avoid using slang words and poor
‘grammar.
ABCDEFGHIJKLMNOPQRSTUVWXY 2
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijkimnopaqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijkimnopqrstuvw xyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijkImnoparstuv wxyz
Remember that the top balloon is
usually fe00 fist
Here, the man Is talking. One can tell
by the “spout” from the balloon to his,
mouth. The gil Is not talking, but
THINKING, This is evidenced by the
connecting circles of her balloon.
Developing an identifying LOGO can
bbe helpful fo a cartoonist. This is mine:EES: ara
FINAL TIPS
1, PRACTICE!
2. To make straight lines use @ ruler, a tsquare or
triangle.
3. Fiber-tip pens have a self-contained ink supply, are
Inexpensive. don't spatter or drip, and the ink ries
uickly (not fett+ip).
4. Use templates for harc-fo-draw ellipses and circles.
5. Use reference matetial (photographs from mag-
zines, catalogs, et cetera) when crowing some-
thing youre unsure of (such as props, places and
landmarks).
6. PRACTICE!
7, you have trouble drawing facial exeressions, make
faces into a minor for Ideas.
8 Use a French curve or a “Ylexicurve” for drawing
cured lines
9. PRACTICE!
10. kneaded rubber erasers are great for graphite. They
don't leave "cums" and they don't ruin the paper.
‘11. Try sketching with a soft-lead (28 or 38) pencil. They
‘make darker lines with less pressure.
12. youre having trouble attaining extremely dark
areas with a pencil try using o 3B pencil, then go
‘over the same area with cn HB. It works!
13, Progress in art and/or cartooning may seem slow
(109 stow fo be aware of). So date and put away
some of your recent work, Don't look at Itfor atleast
sik months. Then compare it fo the work youte
Going at that time. If you've been studying and
Practicing as you should, you will see a very
encouraging difference,
14. Ifyou Use a non-photo blue pen for your preliminary
Pencil drawings you won't have to erase the lines
ater inking. (This is because the camera doesn't
“see” the non-photo blue as it does regular pencil)
15, When you leam something, REMEMBER I.
16. PRACTICE!
|
17, Ifyou want to sell your cartoons, a business cards. a
good investment fo help biing in business. Don't
forget to include your zip code and area code..and
‘@ good cartcon,
18. A pad of tracing paper is a great help when
developing @ cartoon. Just de your sketch, side it
Under fresh sheet and use it as a guide for making
desired changes, No erasing!
19. Keep your work area neat and keep your hands
clean so you don't smudge the paper.
20. People enjoy cartoons that are DOING SOMETHING,
21. A mannequin con help with foreshortening and
action poses,
22, PRACTICE!
23 Lines add age to any face, so for youth, avoid
UNNECESSARY LINES.
24, Large, soulful eyes can create inesistible appeci.
25, When you get an idea for a cartoon, WRITE IT DOWN.
26, Don't forget about seasonal opportunities (such os
the Fourth of July, Thanksgiving and Christmas),
‘And, be sure to submit the cartoons about Sik
MONTHS in ADVANCE so publishers have plenty of
working room,
27. An easy way to transfer a drawing to another sheet
of paper Is to cover a shest of tracing paper with
graphite, then place it pencilside down between
the drawing and the fresh piece of paper. Trace
‘over the drawing with a hard-lead pencil ond the
graphite on the back of the tracing paper will
transfer to the new paper — just like carbon paper
(Dut the graphite is easy fo erase, if necessaiy).
28, Keep a file of reference material, It's well worth the
effort
29. Most of the textures and pattems on and/or behind
the cartoons in this book were mace with commer-
Cial shading screens. They are easy to position (or
reposition) ond, as you can see, there is a wide
variety to choose from.
30. PRACTICE,CARTOONS.
Cartoons are often used for ec
cational material. hey fend to
catch the attention of the students,
{and the Information stays with
them longer.
‘ALRIGHT, MEN/LINE UP
ALPHABETICALLY ACCORDING
TO HEIGHTS
Notice how the shading screen
on the sergeant emphasizes his
importance. Other factors that
make him stand out are that he is
in the foreground so he's larger
than the other characters, and
that he is drawn with @ bald line.
The spout coming from the bal
loon shows that he is speaking,
BLACKBOARD Follies]
SPELLING.
Tt AFRAID PHONICS HASN'T
HELPED MIKE'S SPELLING. HE SPELLED
Fis GOT)... THEN EXPLAINED THE GH
WAS FROM COUGH, THE O AS PRONOUNCED
IN WOMEN, AND THETI ASIN NATION?
In this cartoon the teacher's
blonde hair stands out against
the dork blackboard. This was
done intentionally to draw atten-
tion to her.
54
'
:
|
/
/
30BLACKBOARD Goldie
YUST MULTIPLY
15873 BY ANY
NUMBER BETWEEN
AND 9... THEN.
MULTIBLY THE
SUM BY 7.
Note the expressions on these
characters’ foces. Facial expres-
sions can convey many feelings.
Pay attention to the expressions
fon your characters’ faces. They
can make or break your cartoon!
The characters in this cartoon
direct attention to the message
‘because they are both facing it
AFTER ASKING IF | COULD
SUBTRACT 45 FROM 45 AND
STILL HAVE 45... TOMMY “PROVED
IT WAS Possi@ce/* HE Salby
“SUBTRACT LINE #2 Eom
LINE #1) THEN ADD THe
NUMBERS IN LINE! IN
LINE #2, AND IN LINE # 3/7
Here Is the character from the
cartoon at the top of the page.
with the name "Suzy." A character
can become well-known if It is
always drawn with the same
features and characteristics and
's used repeatedly,
31Walter Foster Art Instruction Program
THREE EASY STEPS TO LEARNING ART
Beginner’s Guides are specially written to encourage and motivate
aspiring artists. This series introduces the various painting and drawing media—
acrylic, oil, pastel, pencil, and watercolor—making it the perfect starting point for
beginners. Book One introduces the medium, showing some of its diverse possibili-
ties through beautiful rendered examples and simple explanations, and Book Two
instructs with a set of engaging art lessons that follow an easy step-by-step approach,
How to Draw and Paint titles contain progressive visual demonstrations,
expert advice, and simple written explanations that assist novice artists through the next
stages of learning. In this series, professional artists tap into their experience to walk the os
reader through the artistic process step by step, from preparation work and preliminary
sketches to special techniques and final details. Organized by medium, these books
provide insight into an array of subjects
Pe Astiseetibeieeceaie ata
pe anbirey Oise nencithatal see lipiey tr ontiter technical vistacled,/uad peplote
new media. Written and illustrated by professional artists, the books in this scrics
are ideal for anyone aspiring to reach a new level of expertise. They'll serve as useful
ae ‘tools that artists of all skill levels can refer to again and again.
‘Walter Foster products are avilable stat and craft stores evecywhere
For. fl lise of Waler Fosters tiles, visit our website at waevewaterfostercom
lorsend $5 fora catalog and a§5-off coupon
WALTER FOSTER PUBLISHING, INC.
23062 La Cadena Drive
Laguna Hills, California 92653,
Main Line 949/380-7510
“Toll Free 8004426-0099 ar
(2005 Wer oe Ping, ne Alek reedThere are more than 250 titles in the Walter Foster Art Instruction Program.
From our Beginner's Guides in every medium to our classic how-to-draw-and-paint titles, there are books
and kits for artists of every skill level—plus an extensive list introducing children to the world of art.
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inwo his artistic wodd and
shows you how to create
fan areay. of unique and
‘omicl carton characters,
swith ips on deawing facial
expressions, actions, and
‘artoon stereotypes. In this
book, he explains his own
cartoning techaigues and
bis methods of developing
‘8 cartoon characer, More-
coves, you'll Sind a wealth
‘of delightful characers
to inspite you. This book
ie sute to be a welcome
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TOTOUWINUGREnadpopsto Discover the Geren Canoe Wereo- Find rips on adding movement lines and
develop a characte’ pecsomaity. types and how ra depict them, epttion ro convey a sense of acon.
Featured artist Don Jardine tas sgh in evel at chol nd calles and has als been a profes of ate Uy of
Micnets foc many years: Don has taught aig, loon, a ita, ndscape pins, porcine, package desi, clay eon
osc, anatomy, slp, a apreation assaon devia, vorsing andes, an leusing. Do ered an sect of
ove tie and eae ofcompltion art Weber Clee in Open, ah Thea he went ow cam acer of cee deren esodaty
‘elation nl mae fase ge in scat mito wth ephan in at om he Universi of Unk, whee he grand
pin cum lade, Do earned his Jstotate dorsi eduction adoration (with ener nae and arcielated seraton at he Unversy
‘of Mines A wrt and lasts of amos ac hos, Don edited hatrator Mapusin fot more than 25 years. past pein ofthe Utah
‘Ar Edestor’sAsocaton, Don ao ered at nat expe forthe Nasional Fata Anion in Washington, D.C. Hes ated in Whos Who
the Made 0 oration Who's Who Art and Ati.
isan 197+ s60100000
‘CATEGORY: At /Tchniues/Catooning aD 158M 10 1801000055